Clash of the Titans (MGM 1981) was another inspired epic from that master
of monster special effects, Ray Harryhausen and it charted the adventures
of the legendary Greek hero Perseus. Much of the story concerned the clash
of interests amongst the Gods led by Zeus (Laurence Olivier) which prompts
antagonisms down on earth.

Laurence Rosenthal was approached by the producer to write a score with the
unequivocal instruction, "Richard Strauss!" And so he did for the main themes
are very much akin to Richard Strauss's Don Juan and Ein
Heldenleben music. As Rosenthal remarks in his notes for the booklet,
"The film is a light-hearted melange of several of the most celebrated Greek
myths and the music would have to feature all kinds of heroic hardware and
ecstatic romanticism as well as tongue-in-cheek humor and scary stuff of
gorgons, deep-sea monsters and horned lords of the underworld There
were clashes in the music as well - between magical lyre-sounds of ancient
Greece, exotic aromas of the near-East, contemporary clustered dissonances
and the full-blooded orchestral forces of 19th century Europe."

At once, Rosenthal projects a titanic image in 'Prologue and Main Title'
with his powerfully strident opening chords for brass and timpani, soon followed
by a statement of the Don Juan-like theme for the heroism of Perseus. Exciting
stuff indeed. Tension relaxes with more tenderly romantic material for 'The
Lovers' but turbulence intrudes with the music for the gigantic scaly sea
monster, the Kraken, as it is summoned from its seabed lair to destroy the
city of Argus with a huge tidal wave. This is a dramatically vivid evocation
of the deluge from Rosenthal. 'The Boyhood of Perseus', too is dramatic and
darkly portentous but romantic too and defiant as the Perseus's heroic music
sounds out and is visually associated with him for the first time. 'Dreams
and Omens' is disturbingly prophetic yet with pastoral touches painted by
Greek pipes and tambourines. 'Andromeda' is dainty and feminine with pipes
and tambourines for exultant dancing but one senses a creeping menace intruding
for the music swirls ever more dangerously, ever more seductively. 'Pegasus'
introduces more beautiful and heroic music for the white, winged horse. Celeste
and xylophone celebrate his purity and beauty but stronger more heroic material
signifies his strength and speed in flight and we are aware of the vistas
over which he flies. 'Lord of the Marsh' is drear with seemingly giant weighty
ploddings, accompanied by low woodwind and brass growlings. Similar music
is heard in 'River Styx' but it is even more eerie and subterranean; a deadening
sound with low brass moanings that remind one of Bernard Herrmann.

The monsters' music is impressive. Rosenthal's 'The Kraken' as mentioned
earlier, sounds formidably vast and evil and seemingly invincible, while
'Medussa' is a multitude of serpentine writhings. On the other hand, Bubo
the endearing little 'clockwork' owl is represented by a merry, chirpy music
for piccolo, xylophone and celeste. 'The Constellation/End Title' is
distinguished by the narration of Laurence Olivier as he promises that the
characters - Perseus, Pegasus, Andromeda and Caliope shall be immortalised
as starry constellations.